Exploring Bruce Dickinson’s Solo Journey Through Rapping and Rock: A Deep Dive into the 1994 Album Balls to Picasso

Bruce Dickinson has consistently demonstrated his inability to remain static in his artistic endeavors. The iconic frontman of Iron Maiden has never been one to shy away from evolution, and his 1994 release, Balls to Picasso, is a prime example of his artistic reinvention.

Recently, Dickinson completed the first leg of Iron Maiden’s exhilarating Run for Your Lives tour and is gearing up for his first North American solo tour in nearly three decades, promoting his highly anticipated 2024 album, The Mandrake Project.

In the midst of his travels across Europe last month, Dickinson unveiled More Balls to Picasso, a reimagined edition of his original 1994 album, now enhanced with additional guitar riffs, brass instruments, orchestral arrangements, and a powerful remix that gives it a fresh life.

During a comprehensive interview with Loudwire, Dickinson shared insights into the creative process behind More Balls to Picasso, what fans can eagerly anticipate from his upcoming solo tour, his initial ventures into rapping, and a peculiar experience he had performing for a group of “German cowboys” in the 1990s.

What fuels your relentless creative spirit as an artist?

Absolutely! If you take a closer look at my solo work, it becomes evident that I thrive on change. No two albums are ever the same. It’s not merely about sticking to a particular style and refining it; rather, each project embodies a unique approach. For instance, Tattooed Millionaire is characterized by a straightforward, AOR sound, nearly a pop-rock vibe, while Balls to Picasso delves into darker, more emotional themes. The intent was for it to be heavier, which is why we reimagined it — to create the album it was meant to be 30 years ago, and I believe it now sounds exceptionally contemporary.

READ MORE: What Led to Bruce Dickinson’s Departure from Iron Maiden in the ’90s?

The tracks remain the same, yet they are transformed into a fresh creation within a new context. The sound is phenomenal.

Indeed, it should have possessed this quality when it was first produced [laughs], but for reasons unknown, it didn’t come together at that time. However, it now feels just right. We’ve incorporated orchestral elements into “Tears of the Dragon,” which has become immense and powerful. The guitar work is notably heavier, thanks to Philip Naslund, one of the guitarists in my solo band, who added rhythm guitars to create a crunchier and more intense sound. Advancements in technology have allowed us to extract a broader range of sounds from the original recordings, and Brendan [Duffey] has proven to be a wizard when it comes to mixing.

It sounds incredible, yet we deliberately refrained from altering any of the original vocals. There has been no re-recording, no retouching, and no Auto-Tuning — practices that have become commonplace today. I firmly believe in authenticity; if it’s not real, it shouldn’t be included.

Given its release in 1994, how does Balls to Picasso fit into the landscape of heavy music at that time?

We were either pioneering a new path or operating in an entirely different realm. When the album was initially released, some listeners found it challenging to embrace it, especially since I had just departed from Maiden. For the die-hard fans, Iron Maiden represents a deeply ingrained tribal affiliation. Consequently, many felt conflicted, thinking, “Even if I enjoy this, I shouldn’t.”

Now, I’m back, and everything is fine. There’s no reason for anyone to feel apprehensive. It’s time to relax and enjoy the journey. The album contains a variety of elements. My aim was to create a darker sound, exemplified by tracks like “Cyclops,” which carries a certain groove. My admiration for Faith No More heavily influenced this direction. Additionally, you can find shades of Peter Gabriel’s darker aesthetic within the music.

The grand, operatic “Tears of the Dragon” stands out, alongside heartfelt ballads and even segments with sustained rapping in tracks like [“Sacred Cowboys”]. Initially, I was hesitant when they suggested rapping, thinking, “Seriously, me? You must be joking!” However, upon reflecting on it now, I realize, “Wow, that turned out pretty cool.”

Experience Bruce Dickinson’s Reimagined ‘Tears of the Dragon’

Was Balls to Picasso a conscious shift in your musical approach, where you embraced a smaller venue experience?

Absolutely! It’s essential to maintain a grounded perspective. My philosophy was to create something fresh and distinct, trusting that the universe would quickly guide me if I strayed off course. My determination plays a significant role; even when others declare, “This isn’t working,” I respond, “Let’s give it some time and see.” Following Balls to Picasso, I released Skunkworks, which occupied an entirely different space. I even received hate mail and threats from some metal fans who labeled me a “traitor” and accused me of “selling out to grunge.”

In response, I would simply assert, “So what?” Grunge is a genre that you’ve somewhat created yet likely don’t fully grasp, so don’t criticize what you don’t understand.

Which artists inspired you during that period? Were there any particular influences that resonated with you?

<pAbsolutely! I was a tremendous fan of Chris Cornell and Soundgarden — absolutely massive. Alice in Chains also captivated my attention with their exceptional songwriting. Soundgarden, in particular, struck me as a modern iteration of Led Zeppelin, and Cornell's voice was undoubtedly one of the finest of his generation.

READ MORE: Discover Bruce Dickinson’s Favorite Storytellers in Rock and Metal

Reflecting on your tour for Balls to Picasso, what are your most memorable moments from performing those songs live?

The U.S. leg of the tour was absolutely fantastic. Interestingly, a couple of shows in Germany turned out to be somewhat peculiar. We performed as a special guest for Lynyrd Skynyrd, and while the band was incredibly kind, the audience presented a unique situation. They arrived dressed in cowboy attire, complete with Stetson hats and faux Harleys parked outside.

As we began playing anything that strayed from country or country-rock, I noticed that half the audience turned their backs on us. I thought, “This feels like an episode of The Simpsons.” Despite the ups and downs, we truly enjoyed our time on tour.

What thrilling surprises can fans anticipate from your upcoming tour featuring The Mandrake Project and Balls to Picasso?

It’s worth noting that aside from two shows at the Whisky and one warm-up at the Observatory in Orange County, we haven’t yet toured The Mandrake Project in North America. We’ve had successful tours across Europe, headlining festivals and performing in South America, but this will mark our first extensive tour in the U.S.

I’m eager to explore venues that accommodate 1,500 to 3,000 attendees, wherever appropriate, and see what unfolds. The band touring with me is the same lineup from Europe, featuring the guitarists who contributed to Balls. Together, we’ve created 18 new songs, which we demoed back in April, and come January, we’ll head into the studio to record a live album with the full band.

This is a genuine rock ‘n’ roll band — six of us on stage, plus a theremin — and we’ll perform tracks from Balls to Picasso, which we regularly do. We’ll also incorporate songs from Mandrake and Chemical Wedding, so if you’re eager to hear “The Alchemist,” it will be part of the set every night.

We enjoy switching up the setlist frequently — it’s a hallmark of our band. We often decide on the spot, “What should we play tonight? Let’s mix it up.” While the core songs will generally remain unchanged, we love to keep things fresh.

Additionally, I plan to break from tradition this time around for the sake of enjoyment by including one Iron Maiden song in the setlist. It will be one of my compositions, so there won’t be any debate about how it should sound. After all, I wrote it, so I’ll dictate the performance!

For the Brazilian shows, I’m brushing up on “Revelations,” which isn’t part of our Maiden tour set. There’s another surprise song I’m keeping under wraps for now, but I’ll leave you to guess it. I could reveal it, but then, well, you know the saying…

Special thanks to Bruce Dickinson for the insightful interview. Check out his upcoming North American tour dates below. For tickets and to purchase The Mandrake Project album and comic series (released via Z2), visit Bruce Dickinson’s official website.

Get Ready for Bruce Dickinson’s 2025 North American Tour Dates

Aug 22 — Anaheim, Calif. @ House of Blues
Aug 23 — Las Vegas, Nev. @ House of Blues
Aug 25 — Phoenix, Ariz. @ Marquee Theatre
Aug 26 — Albuquerque, N.M. @ Revel
Aug 28 — Houston, Texas @ House of Blues
Aug 29 — Dallas, Texas @ House of Blues
Aug 31 — Pryor, Okla. @ Rocklahoma*
Sept 2 — New Orleans, La. @ House of Blues
Sept 4 — Fort Lauderdale, Fla. @ Revolution
Sept 7 — Sao Paulo, Brazil @ The Town*
Sept 10 — Brooklyn, N.Y. @ Brooklyn Paramount
Sept 11 — Boston, Mass. @ House of Blues
Sept 13 — Pittsburgh, Penn. @ Stage AE
Sept. 14 — Silver Spring, Md. @ Fillmore Silver Spring
Sept 16 — Toronto, Ontario @ HISTORY
Sept 18 — Montreal, Quebec @ MTELUS
Sept 21 — Louisville, Ky. @ Louder Than Life*
Sept 23 — Philadelphia, Penn. @ The Fillmore
Sept 25 — Detroit, Mich. @ The Fillmore
Sept 27 — Chicago, Ill. @ Riviera Theatre
Sept 28 — Minneapolis, Minn. @ Uptown
Sept 30 — Denver, Colo. @ Summit Music Hall
Oct 5 — Los Angeles, Calif. @ The Wiltern